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Transcript of In the Studio From a Director's Point of View

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This week, Voices.com is pleased to present Ellie Devers.

Ellie Devers: Hi, this is Ellie Devers from APVoices in New York City. And today, I'm going to be speaking with my partner, Frank Piazza, about what it's like in the studio from a director's point of view.

When someone comes to your studio for a recording session, what do you expect from the talent?

Frank Piazza: As an owner of a recording studio and as a director and producer of voice talent, it's my job to make sure that client's expectations are met. On the other hand, I have expectations too. Mainly, I care how a voice over artist represents themselves when they come into the studio for a recording session. A session might be book with an experienced voice over professional or celebrity who comes in, read the script in less than 20 minutes and then they're gone or it might be someone with less experience. Someone who struggles a bit with the copy but they have a fantastic, unique sounding voice and we need to capture that special quality. No matter what level you are, what I expect as a director, is someone who shows up on time, conducts themselves professionally, and has the ability to take direction. And also, has the ability to go places with their voice. This is what keeps the session interesting, moving forward, and show off range.

Ellie Devers: When you say go places, can you be more specific?

Frank Piazza: Sure. An example maybe if you're reading a script let's say, a PSA, there maybe numerous ways to read it effectively. I might want to hear you read it with sadness or maybe sound frustrated or try to sound angry. I need to hear that you can distinguish between the different approaches. In the end, the client might request three different emotions of that one spot so I need to know that you are capable of switching gears and demonstrating range. Having the ability to read a script effectively with variety, that is what we mean when we say go places.

Ellie Devers: Do you test out the talent sometimes before you begin reading or do you just do it as you go?

Frank Piazza: I think for the most part, it's more as you go. I like to get a feel of how things are going and just run with it. So, it's important to be flexible. It also helps to have been coached by someone who can teach you the fundamentals. I know many people who are experienced voice over artists who continue to be coached even though they are already working. Let's be honest. There is always something new you can learn about yourself and bring to your own performance. I expect that. And the client expects that too.

Now, let's keep in mind that the talent has already been screened, approved, or auditioned to this point so we already have an idea what to expect. I think being professional, prepared, and basically comfortable with yourself are really great assets as a voice over artist.

Ellie Devers: How do you deal with a session when things are not going well? As a director, have you ever experienced a situation where the client is not pleased with the voice over artist? And if so, how do you work through that situation?

Frank Piazza: What I'd like to avoid is hand-holding with someone who really can't do it. It's okay to recognize that and cut pay especially if time and money is a consideration. Yet, I feel - I can really sense in a person if they can or they can't. I want people to succeed. This is part of my nature to really want to see someone becomes successful. So, I will try certain things or tactics to get what I want. That being said, I'll never be mean or rude to someone. So, consider this. You've gotten this far for a reason and you deserve the chance do the best job you can. And if it's in you, I will get it out of you.

Ellie Devers: Is there anything you can share that happens after the spot is read, such as engineering, post production, and editing?

Frank Piazza: Again, what is important in a voice over person is to ability to have range and conduct themselves professionally. And there are technical responsibilities you need to also be aware of. For some experienced speakers, this isn't an issue. For example, a person who lacks experience in the studio or in front of a microphone may sometimes explode their Ps or Bs causing the microphone to pop or maybe their S's are too sublime [Phonetic] [0:04:47] causing the microphone to distort or overload. And sometimes, there is a tendency to be all over the place with the volume of your speaking voice and you need to control this. When these things happen, it slows down the process and creates more work for the engineer in post production. It's important to channel the good stuff and deliver it with technical consistency.

Something I do find frustrating as a director is when the voice over talent has dry mouth. We call this lip smacking. You can actually hear their lips and tongue struggling to make the words clear. Remember, the microphone is very sensitive and its job is to hear and capture everything. So, stay lubricated before you read. Take a drink of water if you feel like you might have dry mouth. Stay relaxed and think about these things.

Of course, sometimes these art effect sounds happened during an extraordinary or perfectly read script and luckily, we do have the ability to edit or remove these sounds. If you're not sure if you're technically sound, then practice into a microphone. Record yourself and listen back. Post production is part of the process but less post production is always better.

Here's a situation that happens many times. A voice over artist will accidentally bang the music stand or clank their pencil against something while they're reading. Not the end of the world but worth being aware of. And here's a real no no. Please don't show up to a session wearing your favorite shell necklace. That can rattle and make noise. Noise is the enemy. So again, think about all the things you need to not do so the session is all about your voice and the performance.

Ellie Devers: What is your idea of a dream voice over artist?

Frank Piazza: I'd say someone who comes in and is able to focus on interpreting the script and not coming across the sloppy or unprofessional. That certainly makes my job a lot easier. And it also makes me look good in front of the client. This is for the most part, a fun, easy going, relax industry. So, make sure you check your uptight baggage outside the door before coming in to the studio.

Ellie Devers: Are there any myths or secrets about the industry that you can share with us?

Frank Piazza: A question people ask me from time to time is how do those guys read the scripts so quickly make their voices sound like a rapid fire machine gun? Well, I usually say, "Oh, we make them drink a double espresso and took a diet Coke just before they read." Well, not really. We have software to take care of speeding things up and slowing things down. Don't worry. No one will ever ask you to do voice over gymnastics but we do like to keep things interesting.

Ellie Devers: I hope you've enjoyed listening to this interview. If you want more information about APVoices and our coaching and demo production services, visit us on the web at APVoices.com.

Female: Thank you for joining us. To learn more about the special guest featured in this Voices.com podcast, visit the Voice Over Experts show notes at podcasts.voices.com/voiceoverexperts. Remember to stay subscribed. If you're a first-time listener, you can subscribe for free to this podcast in the Apple iTune's podcast directory or by visiting podcasts.voices.com. To start your voice over career online, go to Voices.com and register for a voice talent membership today.

Tags:

Ellie Devers, Frank Piazza, Audio Paint, Director, Voice Acting, Audio, Session, Voice Overs

Links from today's show:

APVoices.com

Your Instructor this week:

Voice Over Experts Ellie Devers and Frank Piazza

APVoices was founded by Frank Piazza and Ellie Devers in 2001. Located on the Upper West Side in Manhattan, APVoices is a division of Audio Paint--an audio and video production company providing services to numerous radio, television, and music clients throughout the United States. Both Frank and Ellie have been in the voice-over business for nearly twenty years. They bring their shared expertise in the fields of commercial advertising and audio production to each client. Many of their students have gone on to enjoy success in voice-overs in all parts of the country.

Frank Piazza is the president of Audio Paint in New York City. He is also an audio engineer, music composer, and producer. His work can be heard on radio, television, film, and the internet. As a commercial producer, he has directed numerous television, radio, and corporate spots. His clients include HBO, Comedy Central, Glaxo, Grey Group, and Scholastic Publishers. As a music composer he has created original music for film, television, and the internet. His clients include Court TV, Nickelodeon, and Disney.

Ellie Devers is a professional voice-over actress in New York City and is represented by Innovative Artists. Her voice can be heard on national voice-overs for Maybelline, McDonald's, Canon, Blue Cross and Blue Shield, Tide, Progresso, Tampax, Canadian Club, Jameson's Whiskey, and more. Ellie has also worked extensively in television. She was the creator, host, and writer for the show Pandora on Lifetime. She has been a channel host for fX as well as a journalist for CNN's Café USA and King World's American Journal. She has appeared in numerous TV shows, including Saturday Night Live, Law & Order, Ed, One Life to Live, All My Children, The Knights of Prosperity, and the Late Show with David Letterman.

In 2004, she appeared off-Broadway in her own one-woman show entitled My Mother's Dead and I'm Not Feeling So Hot Myself, directed by Jack Cummings III of the Drama Desk and Obie Award-winning Transport Group.

Enjoyed Ellie and Frank's episode? Leave a comment with your thoughts!